Fifth falls in line on both counts, highlighted by the wistful, contemplative power-pop anthems “None of This Will Matter” and “Things on My Mind” but also lined with a lot of forgettable folk-tinged Middle of the Road rockers, the latter swirling together in a nondescript sea.

It’s an album custom-made for deep headphone listening, and Tuttle and his cohorts pack the stereo field with incident and instrument.

“Pontiak” and “ballad” were probably never supposed to be in the same sentence together, but the band’s insistence on its soft side for even a few songs is an exciting prospect that makes Innocence a diamond in the rough.

In 13 songs, Wild Cub creates infectious, intricate electro-pop that blends ‘80s beats with electronics and synths worthy of the aughts.

Mogwai’s nuanced focus is largely dependent upon the illusion of synthetic expansion rather than their trademarked barebones guitar-band meandering on Rave Tapes.

The lyrics here are heavy with religious, dream-like symbolism as he details the journey of his character while allowing everyone to have their own interpretation of what the man finds and encounters in the wilderness. If there’s one word to describe Brothers and Sisters, it’s “energetic.

As powerful a witness for the region--Memphis, Mississippi, Alabama, Arkansas--as it is a lovely quilt of musicality, braiding blues, folk, Appalachia, rock and old-timey country, this is balm for lost souls, alienated creatures seeking their core truths and intellectuals who love the cool mist of vespers in the hearts of people they may never encounter.

It’s Jones’ powerful, perfectly vibrato-laden voice that creates just the right of emotion for every break-up, hook-up, fed up and uplifting track on the barely 30-minute record.

It makes me want to evaporate the self and distill it just as Callahan distilled Dream River’s eight songs into these new amoeba-fluid, shape-shifting dub versions.

Warpaint have crafted an album that is ultimately rewarding and full of promise, with the listener excited to see Warpaint push their vision further, believing that the road is worth the effort.

Transgender Dysphoria Blues is a perfect storm of great songwriting paired with some timely, frank admissions from Grace.

Whether you’re honing in on the brilliant lyricism or simply soaking in the aural wonders of this minimalistic folk album, there’s plenty to fall in love with about Bad Debt.

Haunting and heartening, the record is a powerful follow-up, that feels like just the beginning.

While Springsteen is notorious for painstakingly sequencing his albums, High Hopes was a losing battle--a puzzle with pieces that, more often than not, just don’t interlock.

Crain has invited the listener to eavesdrop on her internal and often contradictory dialogues. That she’s able to do so without shame is one of Kid Face’s crowning achievements and more evidence of Crain’s brilliant, though still-developing talents.

Tough Age’s self-titled debut has its moments, most of them falling in the album’s front third.

Like most of Malkmus’ releases, Wig Out At Jagbags won’t likely endear him to many newer listeners. But for those who are of the same disposition, this ain’t a bad place to be.

The prolific, fiddle-touting, whistling Bird creates a cinematic musical experience that opens itself to both individual interpretation and universal experience.

The lack of universality to much of it keeps it from being the great album it wants to be, and some of the fascination seems to stem from 2013 celebrity culture obsession and speaks to the need to disappear from our own lives and become so wrapped up in the world of the rich and famous.

That’s the case overall for Blazing Gentlemen, which too often comes off like a rote exercise instead of an inspired undertaking.

It’s developed in parts, compelling, and his existential struggles are somewhat realized.

Packed with peace, love and jangly guitars, Diane Coffee’s debut LP, My Friend Fish, is an irresistible ode to ’60s psychedelia.

Although cobbled from six different shows, Live at the Cellar Door sounds like a cohesive entity. The recordings have been remastered with such love; each string on Young’s acoustic rings with clarity and weight, and each crack in his voice stings with resonance. And yet, a distant haze pervades the record that could convince listeners that this is an actual bootleg on wax.

Five Spanish Songs is clearly more than a mere genre exercise--it’s a respectful, and very much tuneful, tip of the cap from one songwriter to another, which transcends language.

bEEdEEgEE makes it apparent that Brian Degraw has a future with or without Gang Gang Dance, as this solo album can rival any of his previously released heights.

It’s less garage, more cacti forest. Less “borrowing” money from your parents, more working odd jobs to afford your bottom-shelf tequila. It’s heart, and it’s good.

Love’s Crushing Diamond never is over-intellectualized, but it lets emotion guide the trajectory, and taking something away from the album is dependent on the listener’s willingness to feel.

Armstrong holds down the melodies with heart and authority, while Jones does Phil Everly right with her smoky and elegant harmonies.